La MaMa in partnership with Movement Research Concept by Yoshiko Chuma, as part of the series Secret Journey Location: Movement Research | 122 Community Center, 150 First Ave New York, NY 10009
A Panel Symposium with long-table discussions over two days. The Panel Symposium includes conversations between Yoshiko Chuma (New York/Berlin/Japan), Adham Hafez (NYC/Berlin/Cairo) and dance artists from around the world. Hosted by Movement Research, Secret Journey: “Stop Calling Them Dangerous"includes discussions that examine stories about oppression, marginalization, prejudice and profiling.
La MaMa’s Panel Symposium will enable artists to explore their ideas and translate them into a theatrical language that can communicate to diverse artists and members of the dance community. It is also a place where emerging artists learn from established artists and where artists from around the globe share work and ideas. To avoid the discussions from being overly prepared we will be introducing a simple and engaging structure for the panel wherein we will allow space for connection and honesty. In each panel discussion, an audience will have to suggest a topic for discussion. This way we will guarantee that the discussion is fresh.
Cover photo from π= 3.14.. NOTHINg, or EVERYTHINg - With dry tech endless peripheral border - Fukushima - Kabul - Amman - Ramallah - Berlin
by Yoshiko Chuma & The School of Hard Knocks
About the Artists
Yoshiko Chuma (New York/Japan) Cutting-edge choreographer/ director/ Instigator / movement-explorer / performer Yoshiko Chuma continues a lifetime obsession with the mythology of danger. Landing in New York in 1976, Chuma settled in lower downtown Manhattan, labelled as a dangerous place to be at the time. Devoid of the culture and inflation you see before you now, Yoshiko managed to begin her career in lower Manhattan, spanning an impressive 41 year career to date. Creating over 100 productions, including company works, commissions and site-specific events, Chuma is constantly challenging the notion of performance for both audience and participants. Crossing physical and metaphorical borders along the way, quite literally, Chuma has placed herself in dangers way for the sake of art.
She has crossed the border between East and Central Europe in the earlier 90s, crossed the border to Palestine for over 10 years since 2005, the border between Albania and Kosovo in 2007, the border to Afghanistan in 2014, the border to Maracaibo, Venezuela in 2014 among many more. Forbidden realms for some but centers of creation for Chuma, as her visits to these locations challenge preconceived ideas of danger and have brought about some of the most beautiful experiences. Chuma intentionally proposes to confuse documentation with history, recreating segments from her own documented events. She never gives herself any boundaries or let them interfere with her work. Making art is not her intention at all. All of her efforts are oriented towards giving to performances that have never been seen before. Having received no formal dance training, she pursues spontaneous and experimental techniques and methods of construction. Her creative process begins with single movement (dance) or abstract image conveyed to her film making pattern. She once presented a crumpled piece of drowning to her team and requested a single movement that expressed similar qualities. Project after project, year after year, she upends conventional notions of dance and disrupts accepted characteristics of performance. Her performances not only stand apart from the genealogy of dance but also resist definition and confound interpretation – endless peripheral borders.
Adham Hafez (New York/Cairo/Berlin) Choreographer, composer and performer, Adham Hafez studied contemporary dance at the Cairo Opera House before he moved to Amsterdam for his Master in Choreography, at the Amsterdam Theatre School. With a Master degree in political science from SciencePo (Paris), Hafez his work tilts towards studying what political art is at times of catastrophic change, having studied with Bruno Latour the impact of the human on nature; physically, artistically and politically. Awarded for his work as a choreographer, composer and cultural entrepreneur, Hafez is currently a PhD candidate at New York University, completing a 15 years research on Arab performance history. His company’s latest productions were presented at MoMA PS1 (New York), Hebbel Am Ufer (Berlin), and ImpulsTanz (Vienna). Adham Hafez publishes in Arabic and English on Arab art history and performance theory. Hafez is the founder and program director of “HaRaKa”, the first movement and performance research project in Egypt. He is also the artistic director for the “TransDance” festival series and the founder of “Cairography”, the first publication in Egypt dedicated to critical writing on choreography and performance.